Contemplative Residency Acquittal

Richard Rohr wrote, “If we don’t learn to mythologise our lives, inevitably we will pathologise them.” This, and my time spent at Jacky Winter Waters reminds me why I write, paint and dance.

I end my time here on a full moon in May with genuine gratitude in my heart for the privilege of this residency.

Privilege can be so frowned upon, even by the privileged. My week began marred by guilt and trepidation, leaving my children, husband and responsibilities behind, to be alone at the edge of the world.

But I have come full circle, as circles always do, to know again that inner peace, joy and rest are human rights.

Here in Walkerville, I sensed my younger self with me. I embraced the sun as if she was an old school friend, I ballet-leaped over rocks on the sand, I moved my hips to reggaeton like no one was watching – because not a single soul was.

I feared the people in utes loitering along the beachfront were murderers, only to realise they were fishermen, and cried at moonlit visions of my late friend.

My deep contemplation led to questions which led to conversations, which led to Google, which all surprisingly led to answers.

Thank you to Jacky Winter whose gift has allowed me to feel deep emotions, to feel human once again. 

Exhibition Review

26/06/24
Written by Aimee Harel

’Sew Angry’ | Nicole Kemp
7 June—30 June 2024
Glen Eira City Council Gallery

There’s no beating around the proverbial bush when it comes to feminist textile artist Nicole Kemp. Her latest solo exhibition at Glen Eira Arts entitled ‘Sew Angry’ might be small in scale but is made up for in its volume.

Kemp subverts age-old crafts associated with homemakers, matriarchs and women of the past by creating eclectic wall hangings that are loud, proud and unequivocal in their messages.

Each wall hanging, although humble in size, is dense in embroidered, quilted, and both hand and machine sewn detail.  

Text forms an important aspect of Kemp’s work, sometimes plastered on, resembling a childish poster from the 60s, other times, as poetry or prose typed on dog-eared paper, woven in between the colourful works.

Letters and words appear hidden within the threads, but then become very apparent as audiences are without question, summoned to read them aloud, word for word, as if cracking a puzzle.

Kemp clearly couldn’t care what her audiences think of her aversion to the patriarchy or the fine art world where her mediums and messages of choice are dismissed. She makes art that’s so fierce, it’s bound to make some uncomfortable.